The Representation Of Gender In Walt Disneys Mulan

Seminar paper from the year 2007 in the subject American Studies - Culture and Applied Geography, grade: 1,7, University of Osnabrück (Institut für Anglistik/Amerikanistik), course: Introduction to Gender Theory, 28 entries in the bibliography, language: English, abstract: 'How can they tell if I am male or female?' With this last line of 'The Ballad of Mulan' the (anonymous) author raises the gender question already in the 6th century. In this essay, I would like to analyse The Representation of Gender in Walt Disney's 'Mulan', using the structure of the movie to focus on The Protagonist Fa Mulan, the Treatment of Women and the Depiction of Men. Additionally, the inquiry concerning the Meaning of Song Texts in Disney's 'Mulan' appears useful as these always play an important role in conveying movie themes. In order to establish a connection to the seminar on which this paper is based, I will illustrate how the movie is a good example for Judith Butler's theory of Gender as Performance. Last but not least, I would like to show the Influence of Disney's 'Mulan' on Society because fairy tales and movies '[...] do influence the manner in which children conceive the world and their places in it [...]'. Drawing the 'Conclusion', I will try a careful approach to find out if Disney's 'Mulan' might even be considered as a feminist movie. (...)

Seminar paper from the year 2007 in the subject American Studies - Culture and Applied Geography, grade: 1,7, University of Osnabrück (Institut für Anglistik/Amerikanistik), course: Introduction to Gender Theory, language: English, abstract: 'How can they tell if I am male or female?' With this last line of 'The Ballad of Mulan' the (anonymous) author raises the gender question already in the 6th century. In this essay, I would like to analyse The Representation of Gender in Walt Disney’s 'Mulan', using the structure of the movie to focus on The Protagonist Fa Mulan, the Treatment of Women and the Depiction of Men. Additionally, the inquiry concerning the Meaning of Song Texts in Disney’s 'Mulan' appears useful as these always play an important role in conveying movie themes. In order to establish a connection to the seminar on which this paper is based, I will illustrate how the movie is a good example for Judith Butler’s theory of Gender as Performance. Last but not least, I would like to show the Influence of Disney’s 'Mulan' on Society because fairy tales and movies '[...] do influence the manner in which children conceive the world and their places in it [...]'. Drawing the 'Conclusion', I will try a careful approach to find out if Disney’s 'Mulan' might even be considered as a feminist movie. (...)

Seminar paper from the year 2021 in the subject Gender Studies, grade: 1,0, University of Luxembourg, language: English, abstract: Gender and its meaning are often discussed by anthropologists, feminists, and other researchers. However, the way that each defines the word gender is very different and there seems to be no fixed definition as to when one identifies as man or woman. This problematic, that there are so many different definitions for gender, Judith Butler takes as the center of her work, and tries to explain what they understand behind the notions of sex and gender. I will therefore base my analysis on Judith Butler’s "Gender Trouble", published in 1990. Butler’s approach is very interesting, as it brings in the notion of culture as well. And because Butler brings in culture, and culture is the subject of anthropological research, I will take some ideas of Lila Abu Lughod’s "Writing Against Culture", published in Recapturing anthropology: working in the present. The anthropological approach will only lead to a better understand of how culture and gender are so similar, as they are both not innate. The fact that gender is not innate and has to be learned, or as Judith says performed, will be the key idea that I will represent in this paper. The idea that gender is performed and is a social construction, is clearly represented in Walt Disney’s "Mulan". I will, therefore, use this movie to prove the point that I am aiming to elaborate. My point is that any individual can perform different gender identities and that individuals are able to change their gender. So, gender is not related to the sexual organs or chromosomes one has, but gender is simply a behavior that adapts to its environment and is fluid.

Seminar paper from the year 2015 in the subject Communications - Movies and Television, grade: 2,3, LMU Munich, language: English, abstract: If we look behind the “sparkling stars” and “memorizing magic” that is Disney, we might see that these Disney princesses are not the best role models for children. Therefore, this research paper aims at showing these role models in Disney movies and give an awareness of problems they bring with them. “How can they tell if I am male or female?” This last line of The Ballad of Mulan shows that the gender question was already raised in the 6th century. This research aims at analyzing the representation of females in Walt Disney movies: the appearance and intelligence, helplessness and the need of protection and domestication. Before doing so, there has to be a definition what gender role is, in general, but also in Disney movies.

Bachelor Thesis from the year 2017 in the subject Sociology - Relationships and Family, grade: 75.0, Keele University, language: English, abstract: This study offers an examination of gender representations present in the Disney feature-length animations incorporated into the Princess Collection. The import of such films has become increasingly relevant in recent years due to the increased anxiety around media representations and the development of the Princess franchise into a dominant aspect of Disney. In an attempt to test the claims of the existing debate and update the discussion through the inclusion of male protagonists, as well as female, the method of content analysis was adopted to conduct an in-depth analysis of: Snow White and the Seven Dwarfs (1937), Beauty and the Beast (1991), and Frozen (2013). This choice of films enables us to trace how these representations have changed over time to reflect the changing attitudes of gender in mainstream society, to answer the question of; to what extent do Disney princes and princesses represent traditional gender stereotypes? After data was collected the results of the content analysis were interpreted by drawing on literature and situating them within their historical context. The findings have shown that these princesses have evolved from passive damsels in distress to much more active, dynamic heroines. Whilst the male characters were found to have experienced less change but have become more feminised. However, both were found to still be influenced by traditional stereotypical ideas.

Although its early films featured racial caricatures and exclusively Caucasian heroines, Disney has, in recent years, become more multicultural in its filmic fare and its image. From Aladdin and Pocahontas to the Asian American boy Russell in Up, from the first African American princess in The Princess and the Frog to "Spanish-mode" Buzz Lightyear in Toy Story 3, Disney films have come to both mirror and influence our increasingly diverse society. This essay collection gathers recent scholarship on representations of diversity in Disney and Disney/Pixar films, not only exploring race and gender, but also drawing on perspectives from newer areas of study, particularly sexuality/queer studies, critical whiteness studies, masculinity studies and disability studies. Covering a wide array of films, from Disney's early days and "Golden Age" to the Eisner era and current fare, these essays highlight the social impact and cultural significance of the entertainment giant. Instructors considering this book for use in a course may request an examination copy here.

Our world today is not only a world in crisis but also a world in profound movement, with increasingly large numbers of people joining or forming movements: local, national, transnational, and global. The dazzling diversity of ideas and experiences recorded in this collection capture something of the fluidity within campaigns for a more equitable planet. This book, taking internationalism seriously without tired dogmas, provides a bracing window into some of the central ideas to have emerged from within grassroots struggles from 2006 to 2010. The essays here cross borders to look at the politics of caste, class, gender, religion, and indigeneity, and move from the local to the global. What Makes Us Move?, the first of two volumes, provides a background and foundation for understanding the extraordinary range of uprisings around the world: Tahrir Square in Egypt, Occupy in North America, the indignados in Spain, Gezi Park in Turkey, and many others. It draws on the rich reflection that took place following the huge wave of creative direct actions that had preceded it, from the 1990s through to the early 2000s, including the Zapatistas in Mexico, the Battle of Seattle in the United States, and the accompanying formations such as Peoples’ Global Action and the World Social Forum. Edited by Jai Sen, who has long occupied a central position in an international network of intellectuals and activists, this book will be useful to all who work for egalitarian social change—be they in universities, parties, trade unions, social movements, or religious organisations. Contributors include Taiaiake Alfred, Tariq Ali, Daniel Bensaid, Hee-Yeon Cho, Ashok Choudhary, Lee Cormie, Jeff Corntassel, Laurence Cox, Guillermo Delgado-P, Andre Drainville, David Featherstone, Christopher Gunderson, Emilie Hayes, Francois Houtart, Fouad Kalouche, Alex Khasnabish, Xochitl Leyva Solano, Roma Malik, David McNally, Roel Meijer, Eric Mielants, Peter North, Shailja Patel, Emir Sader, Andrea Smith, Anand Teltumbde, James Toth, Virginia Vargas, and Peter Waterman.

An in-depth view of the way popular female stereotypes were reflected in—and were shaped by—the portrayal of women in Disney’s animated features. In Good Girls and Wicked Witches, Amy M. Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form—the heroine of the animated film—that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found. “A fascinating compilation of essays in which [Davis] examined the way Disney has treated female characters throughout its history.” —PopMatters

Literature Review from the year 2003 in the subject Communications - Movies and Television, grade: A, San Francisco State University (Ethnic Studies), course: AAS 693 Asian Americans and the Mass Media, language: English, abstract: Whenever a new Disney film is released, millions of people, children as well as adults, rush to the movie theatre to see it. Disney films are much liked by old and young people alike. Very frequently, they use already commonly known plots and give them a new shape. Their repertoire covers many fairy tales and legends. One of these legends to be found in the Disney film collection is the story of Mulan, the story of a Chinese girl, who, disguised as a man, takes her father’s place in the Chinese army and helps defend China against the Huns. She does this to preserve the honor of the family. This old Chinese legend has, as is true for most of the Disney productions, been changed and made suitable for the (white) American market of family entertainment. The China portrayed in the original version of the legend of Mulan, or rather the children’s book that was available to me in our course reader, is a pretty accurate description of what ancient China must have been like. However, for the audience this children’s book is probably aimed at, i.e. an audience with a Chinese background, Chinese culture is nothing extraordinary, so the culture is not highlighted in any way. In this book, Mulan has been trained in martial arts by her father from very early in her childhood. Moreover, she has a brother whose name she takes on when taking her father’s place in the war against the intruders. In other words, Mulan has been given her martial arts skills as well as a name from a man, she has not acquired or created them herself. When she leaves, she leaves her home with the permission of her parents. Due to her knowledge of martial arts and her intelligence, she is soon admired by all of the soldiers and becomes a commanding general during a war of more than ten years. There is no one there to either protect her or assist her with advices. In the end, this very strategically oriented general uses the superstition of her enemies, which are not the Huns but simply “enemies from the north,” against them and defeats them. She wins without failing first, and it is only in the end that everyone finds out that she is actually a woman, and no one feels offended about it. The possible message of this legend may be the importance of honor in ancient China, which has to be defended against the enemy, no matter who this enemy may be.

In this volume of 15 articles, contributors from a wide range of disciplines present their analyses of Disney movies and Disney music, which are mainstays of popular culture. The power of the Disney brand has heightened the need for academics to question whether Disney’s films and music function as a tool of the Western elite that shapes the views of those less empowered. Given its global reach, how the Walt Disney Company handles the role of race, gender, and sexuality in social structural inequality merits serious reflection according to a number of the articles in the volume. On the other hand, other authors argue that Disney productions can help individuals cope with difficult situations or embrace progressive thinking. The different approaches to the assessment of Disney films as cultural artifacts also vary according to the theoretical perspectives guiding the interpretation of both overt and latent symbolic meaning in the movies. The authors of the 15 articles encourage readers to engage with the material, showcasing a variety of views about the good, the bad, and the best way forward.